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Technology stocks pulled Wall Street to another record amid mixed trading. The S&P 500 rose 0.2% Monday after closing November at an all-time high. The Dow Jones Industrial Average fell 0.3%, and the Nasdaq composite gained 1%. Super Micro Computer, a stock that’s been on an AI-driven roller coaster, soared after saying an investigation found no evidence of misconduct by its management or the company’s board. Retailers were mixed coming off Black Friday and heading into what’s expected to be the best Cyber Monday on record. Treasury yields held relatively steady in the bond market. On Monday: The S&P 500 rose 14.77 points, or 0.2%, to 6,047.15. The Dow Jones Industrial Average fell 128.65 points, or 0.3%, to 44,782. The Nasdaq composite rose 185.78 points, or 1%, to 19,403.95. The Russell 2000 index of smaller companies fell 0.59 points, or less than 0.1%, to 2,434.14. For the year: The S&P 500 is up 1,277.32 points, or 26.8%. The Dow is up 7,092.46 points, or 18.8%. The Nasdaq is up 4,392.60 points, or 29.3%. The Russell 2000 is up 407.06 points, or 20.1%.Journalist Andrew Pierce expressed his joy at remaining with GB News following a significant overhaul at the broadcaster, which saw several prominent figures depart. The political pundit, who co-hosts Britain's Newsroom on weekdays with ex-LBC host Beverley Turner, took to Twitter on Monday to share his enthusiasm at staying on amid a huge cull. He said: "Delighted with @beverleyturner to be part of @GBNEWS team which is now beating @SkyNews week in week out. And they said @gbnews wouldn't last." Andrew has emerged unscathed from a purge at GB News that led to the dismissal of Mark Dolan and Isabel Webster. The reshuffle also affected former Conservative MP Jacob Rees-Mogg , whose airtime was reduced from four days a week to just two. In a video released on Friday, Mark disclosed that he was let go "in minutes" yet graciously thanked his past employers for handling it "nicely." Breakfast presenter Isabel has not yet commented on her departure; however, her colleague Eamonn Holmes reacted to the news on social media, stating: "Bye my girl x." Ellie Costello is set to join Eamonn as the new face of the Breakfast show from Monday to Wednesday, with Stephen Dixon stepping in on Thursday and Friday. Ben Leo will take over Mark's weekend slot. The channel announced the shake-up on Wednesday, explaining that the new presenting roster "will allow us to build on success with a renewed focus and ambition." Ben Briscoe, GB News's Head of Programming and Talent, reflected on the year, saying: "2024 has been a truly fantastic year for us. Not only are we regularly beating the other established news channels, but we are also making inroads against the big public service broadcaster terrestrial channels. Our initiatives will allow us to build on this success with a renewed focus and ambition." One insider told the MailOnline about the "real reasons" some of its faces have vanished from our screens, alleging Isabel fell out of favour for being "too woke and not on message", and that Mark's departure was due to "viewing figures not being good". Mark's Saturday evening slot faced stiff competition from BBC show Strictly Come Dancing .
RICHMOND, Va. — A company pioneering the use of fusion for commercial energy plans to build the nation’s first grid-scale fusion power plant in Chesterfield County outside Richmond by the early 2030s, Virginia Gov. Glenn Youngkin and other state and company officials said Tuesday. Commonwealth Fusion Systems, based in Massachusetts, said it will invest billions of its own dollars to build the unique facility, which — if the technology can be proved — promises to supply about 400 megawatts of electricity, enough energy to power about 150,000 homes, according to a state news release. “This is an historic moment for Virginia and the world at large,” Youngkin (R) said in the release. “Commonwealth Fusion Systems is not just building a facility, they are pioneering groundbreaking innovation to generate clean, reliable, safe power, and it’s happening right here in Virginia. We are proud to be home to this pursuit to change the future of energy and power.” Fusion is a long-sought source of power that can generate almost limitless energy by combining atomic nuclei. It is unlike fission, the more common form of nuclear energy, in which the nucleus is split, and which generates large amounts of radioactive waste. Efficient fusion energy technology has been elusive, with systems requiring more energy to achieve atomic fusion than can be reliably generated by the reaction. Recent advances, though, have held out hope that the technology could be achievable in the next few years. CFS was spun off of the Massachusetts Institute of Technology in 2018 and is considered an industry leader. The company said in the news release that it conducted a global search for a site to build a commercial fusion power plant, which will be called Arc and which the company will finance, build and operate on its own. “In the early 2030s, all eyes will be on the Richmond region, and more specifically Chesterfield County, as the birthplace of commercial fusion energy,” CFS co-founder and chief executive Bob Mumgaard said in the release. “Virginia emerged as a strong partner as they look to implement innovative solutions for both reliable electricity and clean forms of power.” CFS is building a demonstration plant in Massachusetts, called Sparc, aimed at proving the technology it hopes to scale up at the Virginia facility. Dominion Energy, Virginia’s biggest electric utility, owns the Chesterfield County site and will lease it to CFS. “Our customers’ growing needs for reliable, carbon-free power benefits from as diverse a menu of power generation options as possible, and in that spirit, we are delighted to assist CFS in their efforts,” Dominion Energy Virginia president Edward H. Baine said in the release. While fusion has been seen as a potential solution for the vast energy demands of new industries such as data centers, which have become a huge demand on Virginia’s power grid, experts caution that reliable fusion energy at that scale is still a long way from reality.
Elon Musk’s preschool is the next step in his anti-woke education dreams
Opinion: Donald Trump’s Nonsensical War on America’s BordersNEW YORK (AP) — Angelina Jolie never expected to hit all the notes. But finding the breath of Maria Callas was enough to bring things out of Jolie that she didn’t even know were in her. “All of us, we really don’t realize where things land in our body over a lifetime of different experiences and where we hold it to protect ourselves,” Jolie said in a recent interview. “We hold it in our stomachs. We hold it in our chest. We breathe from a different place when we’re nervous or we’re sad. “The first few weeks were the hardest because my body had to open and I had to breathe again,” she adds. “And that was a discovery of how much I wasn’t.” In Pablo Larraín’s “Maria,” which Netflix released in theaters Wednesday before it begins streaming on Dec. 11, Jolie gives, if not the performance of her career, then certainly of her last decade. Beginning with 2010’s “In the Land of Blood and Honey,” Jolie has spent recent years directing films while prioritizing raising her six children. “So my choices for quite a few years were whatever was smart financially and short. I worked very little the last eight years,” says Jolie. “And I was kind of drained. I couldn’t for a while.” But her youngest kids are now 16. And for the first time in years, Jolie is back in the spotlight, in full movie-star mode. Her commanding performance in “Maria” seems assured of bringing Jolie her third Oscar nomination. (She won supporting actress in 2000 for “Girl, Interrupted.”) For an actress whose filmography might lack a signature movie, “Maria” may be Jolie's defining role. Jolie's oldest children, Maddox and Pax, worked on the set of the film. There, they saw a version of their mother they hadn't seen before. “They had certainly seen me sad in my life. But I don’t cry in front of my children like that,” Jolie says of the emotion Callas dredged up in her. “That was a moment in realizing they were going to be with me, side by side, in this process of really understanding the depth of some of the pain I carry.” Jolie, who met a reporter earlier this fall at the Carlyle Hotel, didn't speak in any detail of that pain. But it was hard not to sense some it had to do with her lengthy and ongoing divorce from Brad Pitt, with whom she had six children. Just prior to meeting, a judge allowed Pitt’s remaining claim against Jolie, over the French winery Château Miraval, to proceed. On Monday, a judge ruled that Pitt must disclose documents Jolie’s legal team have sought that they allege include “communications concerning abuse.” Pitt has denied ever being abusive. The result of the U.S. presidential election was also just days old, though Jolie — special envoy for the United Nations Refugee Agency from 2012 to 2022 – wasn’t inclined to talk politics. Asked about Donald Trump’s win , she responded, “Global storytelling is essential,” before adding: “That’s what I’m focusing on. Listening. Listening to the voices of people in my country and around the world.” Balancing such things — reports concerning her private life, questions that accompany someone of her fame — is a big reason why Jolie is so suited to the part of Callas. The film takes place during the American-born soprano’s final days. (She died of a heart attack at 53 in 1977.) Spending much of her time in her grand Paris apartment, Callas hasn’t sung publicly in years; she’s lost her voice. Imprisoned by the myth she’s created, Callas is redefining herself and her voice. An instructor tells her he wants to hear “Callas, not Maria." The movie, of course, is more concerned with Maria. It’s Larrain’s third portrait of 20th century female icon, following “Jackie” (with Natalie Portman as Jacqueline Kennedy) and “Spencer” (with Kristen Stewart as Princess Diana). As Callas, Jolie is wonderfully regal — a self-possessed diva who deliciously, in lines penned by screenwriter Steven Knight, spouts lines like: “I took liberties all my life and the world took liberties with me.” Asked if she identified with that line, Jolie answered, “Yeah, yeah.” Then she took a long pause. “I’m sure people will read a lot into this and there’s probably a lot I could say but don’t want to feed into,” Jolie eventually continues. “I know she was a public person because she loved her work. And I’m a public person because I love my work, not because I like being public. I think some people are more comfortable with a public life, and I’ve never been fully comfortable with it.” When Larraín first approached Jolie about the role, he screened “Spencer” for her. That film, like “Jackie” and “Maria,” eschews a biopic approach to instead intimately focus on a specific moment of crisis. Larraín was convinced Jolie was meant for the role. “I felt she could have that magnetism,” Larraín says. “The enigmatic diva that’s come to a point in her life where she has to take control of her life again. But the weight of her experience, of her music, of her singing, everything, is on her back. And she carries that. It’s someone who’s already loaded with a life that’s been intense.” “There’s a loneliness that we both share,” Jolie says. “That’s not necessarily a bad thing. I think people can be alone and lonely sometimes, and that can be part of who they are.” Larraín, the Chilean filmmaker, grew up in Santiago going to the opera, and he has long yearned to bring its full power and majesty to a movie. In Callas, he heard something that transfixed him. “I hear something near perfection, but at the same time, it’s something that’s about to be destroyed,” Larraín says. “So it’s as fragile and as strong as possible. It lives in both extremes. That’s why it’s so moving. I hear a voice that’s about to be broken, but it doesn’t.” In Callas’ less perfect moments singing in the film, Larraín fuses archival recordings of Callas with Jolie’s own voice. Some mix of the two runs throughout “Maria.” “Early in the process,” Jolie says, “I discovered that you can’t fake-sing opera.” Jolie has said she never sang before, not even karaoke. But the experience has left her with a newfound appreciation of opera and its healing properties. “I wonder if it’s something you lean into as you get older,” Jolie says. “Maybe your depth of pain is bigger, your depth of loss is bigger, and that sound in opera meets that, the enormity of it.” If Larraín’s approach to “Maria” is predicated on an unknowingness, he's inclined to say something similar about his star. “Because of media and social media, some people might think that they know a lot about Angelina,” he says. “Maria, I read nine biographies of her. I saw everything. I read every interview. I made this movie. But I don’t think I would be capable of telling you who she was us. So if there’s an element in common, it’s that. They carry an enormous amount of mystery. Even if you think that you know them, you don’t.” Whether “Maria” means more acting in the future for Jolie, she's not sure. “There's not a clear map,” she says. Besides, Jolie isn't quite ready to shake Callas. “When you play a real person, you feel at some point that they become your friend,” says Jolie. “Right now, it’s still a little personal. It’s funny, I’ll be at a premiere or I’ll walk into a room and someone will start blaring her music for fun, but I have this crazy internal sense memory of dropping to my knees and crying.” Jake Coyle, The Associated Press
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